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Deep End of the Ocean, The full movie downloads

Tuesday, September 9th, 2008

Download Deep End of the Ocean, The

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Deep End of the Ocean, The Reviewed By Chef ADogg Posted 09/03/99 09:30:40

"I don’t know why I’m supposed to hate this." (Average)

Alright, so that Pfieffer chick is in it and it’s based on a best selling (chick) novel and it’s pretty soapy and corny, but…You know what? I really didn’t mind all that shit. I think I’m secure enough in my masculinity to admit that this was a pretty good movie.The plot is supposed to be the hook, and I guess it is for the core audience (middle aged suburban women–it’s a Soccer Mom premise), but the catch really wasn’t played out so well. The idea of a mother leaving her two young sons for five minutes at a crowded high school reunion, only to return to find one of them missing, is pretty horrific on paper, but as staged by the makers of "Deep End of the Ocean," it’s not nearly as compelling on film.After the shaky beginning, though, the film really heats up. Pfieffer struggles with guilt and the resentment of her husband (Treat Williams), and they both deal with the angsty misadventures of their teenaged son (Jonathon Jackson). As if all this made-for-TV tension weren’t enough, one day the prodigal son shows up on the doorstep, lawnmower in tow.The film’s biggest strength is that it doesn’t play the child off as a little saint–he has his own issues, and he realistically wants to return to the father he’s known all his life. Also key is the twisting and turning of the moral screws as Pfieffer wrestles with what’s best for the child and what’s best for her family.Will the child stay? Will the bliss ever return to this now crumbled marriage? Can this family ever be a family again?Who gives a shit. All I really care about are the performances. Pfieffer is excellent in her role, and handles her profanity well (it’s rare you find an actress who can so convincingly use the word "fuck"). Williams is someting of a straight-to-cable joke, but nearly redeems himself with the wrenching work he does here–his character is by turns selfish, noble, caring, angry, and always realistic. Jonathon Jackson looks like yet another soap star who could parlay small time TV success to big time box office–sensitively and singularly talented, he hits all the right notes and delivers what is probably the film’s most in tune performance. I would, however, like to forget about Whoopi Goldberg’s turn as a black lesbian detective. Stuffing so many characteristics on to such a small character reeks of free-spirit posturing, but she doesn’t have enough screen time to really fuck shit up.It’s a chick flick, but I think anybody who likes movies will dig it. Heavy handed at times and melodramtic at others, it provides a mistily entertaining glimpse at shattered hopes, dreams, and family ties. Shit, even ole Chef almost cried.Almost.
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download DOA: Dead or Alive dvd movies

Monday, September 8th, 2008

Dead or Alive

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My review of this film can be easily summed up by just using the first three letters of the title.

The "Dead or Alive" (aka "DOA") series of video games have been around for over ten years now, a 3D fighter in the "Virtua Fighter" mold that has a strong appeal to gamers due to very fluid and quick fighting movements, arcade-like scenarios, and, perhaps most importantly in terms of its popularity, plenty of gratuitous cheesecake involved in the sexy appeal of the main female characters.  The video game world has always been, and still is, primarily dominated by male interests, and unlike other fighting games that concentrate more on the martial arts violence or easy-play head-to-head aspects, "Dead or Alive" just has that extra level of eye candy that makes it hard to resist for young heterosexual guys.  When aspects like the "bounce factor" of the female breasts are adjustable in the options for the game, you can pretty much guess where the emphasis lies in the developers of the series.

Although most who have played the game would probably be hard-pressed in recounting just what plots are involved in what versions of the games they have experienced, there actually is some minor attempt at a back story in nearly every one of them.  Just like the "Street Fighter" series, they involve a world tournament of international fighters, all with different fighting styles, competing to see which one is the best in various vistas around the world (here, the tournament is funded by a large corporation).  Each fighter is presented with his or her own personal reasons for competing in the event, either for money or revenge, with an overriding plot tying in to the corporation and its goals to create the ultimate fighter or weapon for its own evil purposes.  (This film version has the tournament completely on one island owned by the corporation, now headed by the unscrupulously power-hungry Donovan (Roberts, National Security).

Despite the fact that video games based on arcade-style fighters have been made without a great deal of critical or commercial success (Street Fighter and Mortal Kombat are the two most popular), it looks like someone hasn’t learned that the formula doesn’t quite work when translating these elements to the big screen.  While every effort is made to incorporate every basic aspect of the video games into the story, what the producers of this "junk food" action vehicle fail to realize is that the primary reason for the popularity of most fighter games is the "pick up and play" factor for most gamers, who like fast action, a lack of plot, and the competition factor that makes them especially fun to play with a friend.  Nobody really gives a rat’s ass about each particular character and his or her story except as a means to provide a momentary respite from the furious button-mashing involved in each stage of the tournament.  You turn it on, you play, you turn it off and go about your day — an easy, enjoyable distraction you hardly think twice about.

I guess if I wanted to give the filmmakers some credit here, I could definitely state that even this mindless aspect of the games has translated into the movie.  Exactly like the game, every scene in the film pushes the buttons of titillation, whether through the attractiveness of the actors, the thunderous violence, or the lightning-quick fluid CGI-laden fighting.  If all you are looking for is a live-action recreation of the video game, DOA: Dead or Alive is nearly perfect in that regard, as practically everything you’d associate with the games is in there, from the costume changes, various locations, and signature moves.  Even the spin-off game, "Dead or Alive Xtreme Beach Volleyball" is worked into the plot of the film itself.  I should point out for the purists, there are some changes: some of the characters have been excluded, a couple of new ones created, and a few of the nationalities and races altered.  Still, for the most part, they get the "important" stuff right.

While all of this may be pleasing to those who have ever been obsessed with the video game series, unfortunately for moviegoers who are not especially familiar, this movie delivers very paltry goods.  While it definitely covers the bases on everything that makes the video game a hit, it also never gives us anything more. Without the personal interactive quality for people in the audience, it is about as stimulating as watching someone else play "Dead or Alive" for nearly ninety minutes on your TV at home.  There are some miniscule attempts at character development here and there, but not enough to make us give a damn, as the entire construct of the film is to show plenty of fighting and scantily-clad babes whenever possible.  Like the games, the emphasis of the movie is on the female characters, mostly because they are hot and marketable for the poster and advertisements.  No surprise, as "sex sells" has always been the motto of the franchise through and through.

Directed by longtime Hong Kong action veteran Cory Yuen (The Huadu Chronicles, The Transporter), DOA offers plenty of well-choreographed fighting and a stimulating visual style that should definitely go down well for lovers of eye candy theatrics.  The plot is cheesy and the dialogue campy, so lovers of bad cinema may be especially fond of this schlocky entry into their video collection.  However, if you don’t fall into one of these two camps, DOA will prove to be a tedious experience, with little in the way of interest in the main story, one-dimensional characters, or barely-evident plot twists.  Each scene of violence or juvenile sexuality is followed by just another one.  If you’re one of those rare moviegoers who thought Charlie’s Angels put too much emphasis on characters and plot, perhaps this more remedial version will be right up your alley.

My advice if you’re still interested: rent any one of the video games in the series instead.  It will cover every base the film does, but features one basic component this movie version lacks:  your involvement.

Qwipster’s rating:
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Sunday, September 7th, 2008

Download Saw II

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Providing your standards aren’t too high, “Saw II” is a worthy follow-up to its grisly predecessor. While most horror sequels are more like remakes, this one takes a different tack in continuing the first film’s sadistic life-or-death gamesmanship in which a psycho named Jigsaw tortures those he sees as morally weak and unworthy of the gift of life. Placing them in elaborately engineered situations, Jigsaw tests how far his victims are willing to go to save their own lives. First-time feature director Darren Lynn Bousman (taking over for James Wan, now an executive producer) grabs the audience immediately by the lapels, opening with a twisted Buñuelian variation on one of the “tests” from the original “Saw.” A police informant awakens to find himself almost naked aside from a steel-jawed death mask designed to spring shut, driving dozens of spikes into his skull, if he fails to unlock it in time. He is given a scalpel and a fairly strong hint about where on his body the key has been hidden. ADVERTISEMENT When police later discover the crime scene, there is a message scrawled on the ceiling: “Look closer Detective Mathews.” Det. Eric Mathews, played by Donnie Wahlberg with the utmost of seriousness, is a burnout with a troubled teenage son, an ex-wife and a fetching ex-partner, Kerry (Dina Meyer), with whom he had a fling that ended his marriage, and he’s been singled out for reasons that will become clear. Mathews and Kerry, abetted by a SWAT team, quickly close in and capture Jigsaw (Tobin Bell) in his booby-trapped industrial grunge lair, but that’s just the start of the game. A set of computer monitors display video of a house where Jigsaw has sequestered eight moral miscreants, one of whom is Mathews’ delinquent son, Daniel (Erik Knudson). The hostages have been exposed to sarin gas and the house is rigged with various torture devices designed to make their search for strategically hidden syringes of the antidote within the prescribed two hours difficult, to say the least. Franky G., Glenn Plummer and Beverley Mitchell (of “7th Heaven”) are among the unlucky contestants, as well as Shawnee Smith, who returns as Amanda, the only person to previously survive an encounter with the puzzle master. The scenario plays out as a sinister reality-TV show or an overly pious science experiment. The film cuts back and forth from the lab rats’ pursuit of the serum to the standoff between the cops and Mathews. Based on a script originally called “The Desperate” by Bousman that was rewritten by “Saw” screenwriter Leigh Whannell, who turned it into a sequel, the story is much more focused on an endgame than the original film. There are fewer credibility gaps and there are plenty of reversals to satisfy fans. Bousman is adept at moving the action along, but reveals his music-video roots with too much rapid-fire imagery at crucial moments and the School-of-David Fincher visuals that marked the first “Saw.” Most annoying of all are the quick-cut replay flashbacks used to jog the audience’s memory with each revelation, robbing us of the pleasure of actually remembering for ourselves. The big twist at the climax is a bit of a cheat and sets up another disclosure that blatantly lays the groundwork for “Saw III … IV … V,” ad infinitum, but for the most part the film succeeds in producing a frightening Halloween weekend experience. The stars of this movie, as with the first, are the disgusting devices dreamed up by Jigsaw (and production designer David Hackl), and as long as there is a market for seeing those in action, the series will live on. Saw II MPAA rating: R for grisly violence and gore, terror, language and drug content Times guidelines: Torture, endless sharp objects, plenty of blood and spilled brains Released by Lions Gate Films. Director Darren Lynn Bousman. Executive producers Leigh Whannell, James Wan. Producers Mark Burg, Oren Koules. Gregg Hoffman.
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Saturday, September 6th, 2008

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Traveling to a feast of berries far away, bears Kenai (Patrick Dempsey) and Koda (Jeremy Suarez) are stopped by Nita (Mandy Moore), a human who Kenai once held love for when they were younger. Looking to break a curse that’s preventing her from marrying, Nita requests the help of the bears to cross the countryside. Along the journey, the connection between Nita and Kenai is reignited, leaving Koda to ponder if Kenai should really live life as a bear, or would he be better off as a human again.

Admittedly, it was an animated production glued together by scraps from other Disney hits, but 2003’s “Brother Bear” knocked me down in ways few of the Mouse House’s offerings have been able to do since I was 10 years old. It was a splash of thrilling autumnal colors, jubilant character development, and confident storytelling that ignored many Disney crutches (chiefly a villain, along with singing and dancing), and preferred to lead with its heart. Over the years I’ve revisited the film several times, and today find it to be one of the stronger entries in Disney’s towering animated empire.

While not racking up huge box office numbers in America, “Brother Bear” charmed enough on DVD to warrant a direct-to-video sequel, which is both a promising and lamentable idea. Where the first film was an animated feature, the sequel is simply a cartoon.

First and foremost, “Bear 2″ is missing the majestic hand-animated woodsy vistas to backdrop Kenai and Koda’s adventure; the nuanced and trembling voice work from Joaquin Phoenix; the layered, widescreen score by Mark Mancina and pop song interstitials from Phil Collins (Melissa Etheridge substitutes here); and a penetrating story about friendship and the mystical wonders of life that elevated “Bear.”

What we’re eventually handed in “Bear 2″ are elements that show a step down in effort from the first film, but still allows time to be spent with old friends. The film remains a charmer, even with a brittle acting job from Patrick Dempsey and a Saturday morning cartoon level of animation. “Bear 2″ is a minor diversion, and the filmmakers have lightened up the material substantially to appeal to a younger crowd. Let’s put it this way: the original film took its time with the Inuit characters, respecting traditions (even the invented ones), and placing emphasis on careful animation to express the splendor of the spiritual world; “Brother Bear 2″ brings in Wanda Sykes to play a village elder.

Regardless of the loosened standards, “Bear 2″ still affects with its story of dormant romance, cleverly finding ways to challenge Kenai’s decision in the last film to become a bear. Agreeably voiced by Mandy Moore, the addition of Nita adds the only conflict the film needs. Again, the absence of a mustache-twirling villain is truly something praiseworthy. Equally hard to resist are returning moose Rutt and Tuke, played to the McKenzie Brothers hilt by Dave Thomas and the sorely missed Rick Moranis. Since the theme of love is in the air, the boys have their own objects of moose desire, played appropriately by some more “SCTV” cast members, Andrea Martin and Catherine O’Hara.

As money-grabbing animated product goes, “Brother Bear 2″ rests nicely on a lowered expectation level, and is hardly an offensive affront to the first film. The texture and polish is deeply missed, but the characters are so strong and engaging, it still entertains.
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Romeo Must Die legal movie downloads

Friday, September 5th, 2008

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The Movie:

After Martial Arts actor Jet Li amazed audiences in “Lethal Weapon 4″, it was obvious that another Hollywood film would be developed to highlight his talents. The result is this slick, stylish action film from ace cinematographer Andrzej Bartkowiak, who makes his directorial debut here. The film has just enough plot to get by, but the action scenes are what really carry the film along.

A remake of “Romeo And Juliet” in Oakland, CA., “Romeo Must Die” stars Li as Han Sing, a cop who breaks out of a Hong Kong prison as the movie opens. He’s there for a crime he didn’t commit, and he’s off to the USA to find the men who killed his brother. When he arrives, he meets Trish O’Day(R&B Singer Aaliyah, in her film debut). Their two families have been engaged in a turf battle, which threatens their relationship.

The head of one family (Delroy Lindo) is also trying to take over the city’s waterfront area. This piece of the plot isn’t given too much of a focus, but having a great actor like Lindo (”Get Shorty”) makes the plot developments interesting. The rest of the cast also delivers solid performances, especially Li and newcomer Aaliyah, who doesn’t have much of a role, but has a nice presence.

Fight scenes are obviously the focus of the film, but I found myself invested enough with the story and characters, as well. “Romeo Must Die” manages a nice mix of both plot and action, and first-time director Bartkowiak has certainly gathered an excellent crew, who give the movie a wild, gorgeous look. An entertaining action film with good performances.


The DVD

VIDEO: This is about as good as it gets. Warner Brothers has done a marvelous job for “Romeo Must Die“; their effort here is incredibly good. This is a wild looking movie and the look translates extremely well to DVD. Sharpness is perfection - images are remarkably smooth and natural with excellent depth. The presentation is consistently very well-defined and clarity is never an issue; neither is detail, which is excellent. The film has a very surreal and beautiful color palette, full of deep, rich colors that look extremely solid on this presentation. Colors remain well-saturated and with no problems at all. Flesh tones are accurate and black level is extremely good.

There’s no pixelation and only the slightest bit of shimmer, but the print used is crystal clear, with not the slightest mark, scratch or any other flaw. Cinematography by Glen MacPherson is stylish and pretty fascinating to watch. Warner Brothers usually does very strong work, but with “Romeo Must Die“, they offer a disc that looks close to perfection.


SOUND: The audio for “Romeo Must Die” isn’t hugely agressive, but quality in general is very, very good. The rap and r&b music that is placed throughout the score sounds great, with a deep, intense presence that fills the room with solid beats. Surrounds come into play more intensely during the action sequences, but otherwise, they offer the music. Bass is appropriately solid and deep, as well. Dialogue sounds clean and natural. The music is the star of the show, but the action sequences take center stage nicely when it’s their turn, with explosions and gunfire.

MENUS:: Animated main menu, with clips from the film as well as the score in the background; the sub-menus are not animated, but images are laid out nicely.

EXTRAS:: .

Trailers: The US trailer (Dolby 2.0, letterboxed at 2.35:1); the international trailer (Dolby 2.0, letterboxed at 1.85:1). I actually kinda liked the international trailer better than the US version.

Music Videos: “Come Back In One Piece”, by Aailyah, “Try Again” from Aailyah. Also included in this section is a “Making Of” featurette for the “Try Again” music video, which includes behind-the-scenes footage and interviews from both the singer and Jet Li. The featurette lasts 4 minutes or so.
Short Documentaries: These are a series of short featurettes that take a look at the filming of some of “
Romeo Must Die“’s more intense fight sequences. These presentations basically take the audience, step-by-step through what it takes to film one of these sequences, from the preparation to the tasks of the other people who are on set. These documentaries last about a couple minutes each and are a very nice addition, informing the audience about what’s involved in scenes like the ones featured in “Romeo Must Die“. The documentaries are “Stairway Dance”, “Kung Fu Football”, “A Benz, A Bike, A Babe and some Bad-Ass Kung Fu”, “The Hose”, “Master On Fire”, “Jet Li is Han”, “Aaliyah is Trish”, “Anthony Anderson is Maurice”.

Featurettes: A series of 4 well-produced presentations on various aspects of the film.

Inside The Visual Effects Process: In this featurette, we learn about the process of creating some of the film’s visual effects, as well as the company that created them, who was also responsible for “The Matrix”. This featurette lasts a little under 4 minutes.

Diary Of A (Legal) Mad Bomber: This section takes a look at how the physical effects (explosions, etc) of “Romeo Must Die” were achieved. It also offers a pretty fascinating look at how a couple of stunt scenes are built from the ground up. This featurette lasts about 5 minutes.

Anatomy Of A Stunt: A pretty wild featurette that takes a look at a stuntwoman’s perspective going into filming an action sequence for “Romeo Must Die“. She takes us through all of the equipment and safety measures that have to be used for the movie, and we get to see the stunts being filmed. Very cool stuff, indeed.

The Soundstage: The final documentary takes a look at the process of recording and adding sound into the final movie, but unfortunately it’s pretty short, with only a couple of moments showing the sound crew at work, and an interview. I would have liked to have learned even a little more here.

HBO First Look Special: Making “Romeo Must Die: This promotional featurette sort of summarizes all of the elements that the viewer learned about in the featurettes that this DVD offers, and includes some interviews. Interview subjects include the cast and crew, as well as the always energetic action producer Joel Silver. Behind-the-scenes clips of the production at work are also included, as the crew prepares and films some of the action sequences from the film. This documentary lasts about 14 minutes or so.

Also: Cast & Crew Bios.

DVD-ROM: The DVD-Rom portion of the supplements offers an interactive martial arts challenge, trailers for “Enter The Dragon”, “The Matrix”, “House On Haunted Hill” and “Lethal Weapon 4″, as well as a soundtrack listening and the film’s theatrical website.

Final Thoughts: “Romeo Must Die” is a very well-done and enjoyable action movie, and the presentation on this Warner Brothers DVD definitely is excellent. Audio and especially video quality are top-notch, and although I would have liked a commentary by the film’s cast or crew, the additional features included are informative and entertaining. Definitely recommended. (August 1, 2000 Release) .


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watch Collateral Damage movies com

Thursday, September 4th, 2008

Download Collateral Damage

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If it wasn’t for an accident of history, “Collateral Damage” would have come and gone without much fanfare, notable only for Arnold Schwarzenegger taking a page out of Mike Tyson’s book and biting the ear off a bad guy. But because it concerns an average citizen whose family is killed in an act of international terrorism on American soil, the Andrew Davis-directed “Damage” received a degree of celebrity as one of the films whose release was postponed after Sept. 11. Seeing it now underscores the inevitability of that decision. Even today, watching a bomb go off among unprepared civilians in what looks like Century City is more disconcerting than it would otherwise have been. ADVERTISEMENT Also unnerving, for similar reasons, are the film’s realistic opening shots of Schwarzenegger as L.A. firefighter Gordy Brewer dealing with the darkness, the smoke, the screaming chaos of a major conflagration. While much has been made out of this being what one of the producers calls “a significantly different Arnold,” that’s not really the case. The Ordinary Arnold referred to lasts for about the blink of an eye before he reemerges as such an indomitable one-man army that not sending him into Afghanistan in search of Osama bin Laden seems a regrettable oversight. Schwarzenegger’s Gordy would have preferred to stay that regular guy, a loving husband and involved father to a cute son with just the right number of missing teeth. But then comes that bomb blast outside the consulate of Colombia, an explosion that numbered his family among its nine victims. Even Hollywood couldn’t imagine a body count as high as that of Sept. 11. Quickly taking responsibility for the carnage is El Lobo (the wolf), the dreaded leader of Colombia’s rebel faction (played by New Zealander Cliff Curtis). “We will bring the war to you,” a video message from El Lobo eerily insists. “You will not feel safe in your own beds.” Distraught though he is about his loss, Gordy is willing to let the government, symbolized by renegade CIA agent Brandt (Elias Koteas), tackle El Lobo. At least at first. But hearing a smirking Lobo sympathizer talk about how those civilian casualties were nothing more than unfortunate collateral damage drives this even-tempered firefighter over the edge and turns him into a demon of revenge. “Your face has changed,” someone says, and indeed it has. Now more Terminator than Ordinary Arnold, Gordy gets himself to Colombia on a quest to personally dismember El Lobo. All kinds of people want him dead, and all kinds of obstacles–from trained killers to involuntary trips down enormous waterfalls–get placed in his way. It wouldn’t be accurate to say Gordy laughs at these dangers–he’s in far too sour a mood–but that’s the general idea. Gordy is even impervious to unimpressive acting from some of “Damage’s” bigger names. Here’s John Turturro as an expatriate Canadian mechanic–”a wrench for hire” is what he imaginatively calls himself–who briefly shares a cell with Gordy. And there’s John Leguizamo as a wacky cocaine manufacturer–is there any other kind?–who is connected to the rebels. You meet such interesting people when you travel. Given what he’s been through, it’s not surprising that the only thing that gives Gordy pause on his relentless quest for revenge is the plight of young mothers in the company of small sons. One that especially catches his eye is sylph-like Selena (Italian actress Francesca Neri, an object of Dr. Lecter’s affection in “Hannibal”), who crosses Gordy’s path so often it makes you think Colombia couldn’t be much bigger than Larchmont Village. As directed by Davis (who did the memorable “The Fugitive”) and edited by Dennis Virkler and Dov Hoenig, “Collateral Damage” does a solid job with its action sequences and the David Griffiths & Peter Griffiths script takes a few random stabs at being of interest. Here’s El Lobo, for instance, talking about how revolution plays in the U.S. of A: “When an American sees a peasant with a gun on television, he changes the channel. He never asks, ‘What is a peasant doing with a gun?’” “Collateral Damage’s” heart, however, is not into radicalizing Gordy and turning him into a firefighting Che Guevara. The film’s political philosophy, as much as it has one, is of the “a plague on both your houses” variety, painting the rebels and the CIA as equally fixated on killing innocent civilians for their own nefarious ideological ends. We’ve seen it all before, and we’ll likely see it all again. “In the struggle for liberation,” El Lobo says, “there is no room for mistakes.” Hollywood, however, is a lot more forgiving. * MPAA rating: R, for violence and some language. Times guidelines: the usual action smorgasbord. ‘Collateral Damage‘ Arnold Schwarzenegger…Gordy Brewer Elias Koteas…Brandt Francesca Neri…Selena Cliff Curtis…El Lobo John Leguizamo…Felix John Turturro…Armstrong In association with Bel-Air Entertainment, a David Foster production, released by Warner Bros. Director Andrew Davis. Producers Steven Reuther, David Foster. Executive producers Hawk Koch, Nicholas Meyer. Screenplay David Griffiths, Peter Griffiths, story by Ronald Roose, David Griffiths and Peter Griffiths. Cinematographer Adam Greenberg. Editors Dennis Virkler, Dov Hoenig. Music Graeme Revell. Production design Philip Rosenberg. Art directors Richard Reseigne, Mark Fisichella. Set decorator Thomas Roysden. Running time: 1 hour, 50 minutes. In general release.
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divx Masked and Anonymous movie downloads

Wednesday, September 3rd, 2008

Download Masked and Anonymous

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With “Masked and Anonymous,” director Larry Charles and Bob Dylan attempt an epic depiction of America in its death throes, taking their inspiration from the songs of Dylan. The movie, with a script attributed to Rene Fontaine and Sergei Petrov but actually by Charles and Dylan, attempts to be prophetic and put-on at the same time, thus falling into the ancient snare of trying to have it both ways — and being unable to pull it off. The look of the film is great, the soundtrack glorious, but more often than not the dialogue is atrocious, featuring a lot of long-winded gobbledygook. A force in “Seinfeld,” “Mad About You” and other TV successes, Charles, in his feature debut, seems in over his head in big-screen allegory, displaying a tendency to confuse satire with facetiousness and inside jokes with slyness. (Where is Robert Altman, the one man who could have gotten away with this project, when we need him?) It would seem the film’s title comes from the belief that people hide their true selves from others until they’re in a crunch, but what Charles’ people are about is obvious from the start. ADVERTISEMENT Cinematographer Rogier Stoffers, production designer Bob Ziembicki, art director Kristan Andrews and set decorator Bob Kensinger do a brilliant, wittily detailed job of evoking an L.A. in the near future, in which various ethnicities have started to synthesize; it’s as if the City of Angels had been conflated with Baghdad. The president (Richard Sarafian), a virtual dictator, is dying in his handsome but slightly seedy estate, his longhaired son Eduardo (Mickey Rourke), is all set to grab power and establish a totalitarian state, and there is a lot of rebel skirmishing in the streets. In this atmosphere of chaos and impending doom, Uncle Sweetheart (John Goodman), a bombastic talent manager on the skids, sees a chance for a comeback in organizing a benefit concert on behalf of medical relief and strives to interest tough, skeptical TV producer Nina Veronica (Jessica Lange, spectacular in Thierry Mugler). He admits he doesn’t think he can line up “Billy Joel, Springsteen or McCartney,” but believes he has a sure-fire idea: spring his old client, the legendary Jack Fate (Dylan), from jail, make him the main attraction, filling in the bill with carnival acts, including a guy in Al Jolson blackface (Ed Harris). The laconic, well-tailored Jack, while riding a bus from prison back to town, has an exchange with a harried young man (Giovanni Ribisi) who has one of the film’s more sensible lines: He explains he was a rebel until he discovered the rebels were actually government-backed, so now he’s become a counter-rebel. Accepting the gig without fuss, Jack does not let the signs of decline that surround him disturb his cool, but his mind is on the past, which involves the president and his mistress (Angela Bassett). In the meantime, Jack’s reemergence has caught the attention of the editor (Bruce Dern) of a near-defunct newspaper who assigns burned-out reporter Tom Friend (Jeff Bridges) to interview Jack. (Friend has a devoted, devout lover, played by Penélope Cruz, who is always praying and burning candles but is nevertheless called Pagan Lace.) Friend would seem to be a compendium of every obnoxious reporter Dylan was ever subjected to, hectoring Jack for not appearing at Woodstock and lecturing him on the meaning of Jimi Hendrix’s appearance there. One of Jack’s young fans (Luke Wilson) is incensed by Friend. The political situation continues to deteriorate, with its six stars, 16 familiar key supporting players and 21 more actors doing their bits. At least we are treated to Dylan performing eight numbers with his band, which makes us wish we were watching a concert film — or the real thing — instead of “Masked and Anonymous,” and the soundtrack features a wide selection of Dylan songs covered by others. The loveliest moment in the film, suggesting what might have been, occurs when a little girl (Tinashe Kachingwe) turns up to sing to Jack “The Times They Are A-Changin’. ” Not surprisingly, Dylan himself floats above the fray, but since this is his first film in 15 years, it’s lamentable that “Masked and Anonymous,” which is too heavy-handed to be amusing even when it means to be, is a work of such pretentious self-indulgence. Masked and Anonymous MPAA rating: PG-13, for some language and brief violence. Times guidelines: Inappropriate for small children; complex themes. Jeff Bridges … Tom Friend Pen?lope Cruz … Pagan Lace Bob Dylan … Jack Fate John Goodman … Uncle Sweetheart Jessica Lange … Nina Veronica Luke Wilson … Bobby Cupid A Sony Pictures Classics release of a BBC Films and Marching Band Productions presentation of a Spitfire Pictures and Grey Water Park production. Director Larry Charles. Producers Nigel Sinclair, Jeff Rosen. Executive producers Anatoly Fradis, Joseph Cohen, Vladimir Dostal, David M. Thompson, Guy East, Marie Cantin, Pietro Scalia. Screenplay Rene Fontaine, Sergei Petrov. Cinematographer Rogier Stoffers. Editor Luis Alvarez y Alvarez, Pietro Scalia. Original music by Bob Dylan. Costumes Abigail Murray. Production designer Bob Ziembicki. Art director Kristan Andrews. Set decorator Bob Kensinger. Running time: 1 hour, 47 minutes. Exclusively at the Nuart, 11272 Santa Monica Blvd., West Los Angeles, (310) 478-6379; and the University 6, Campus Drive across from UC Irvine, (800) Fandango, No. 143.
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Wake of Death avi movie

Tuesday, September 2nd, 2008

Download Wake of Death

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Wake of Death
The Movie:

Can it be? Is it truly possible? Holy crap! Jean-Claude Van Damme has made two good movies in a row!!! Following up the sorely underrated and under appreciated prison film In Hell, Van Damme’s latest proves to be a worthy, if a little clich?, action film that proves that his slump of recent years may be coming to an end.

The muscles from Brussels plays Ben Archer, an enforcer for the local mafia who works out of a fancy nightclub. Ben’s a happily married man, and his wife, Cynthia (Lisa King), works for Immigration and Naturalization Services. Together they have a kid and it’s because of this that Ben decides he’s going to quit the business and go straight. He’s tried of the craziness that his job brings to his life and he just wants to settle down.

One night Cynthia is called in to help with a boatload of Chinese refugees who have wound up in the harbor. Most of them are adults but Cynthia spots a young girl named Kim (Valeria Tian) and feels sorry for her. She takes Kim back to their home for the night so that she can have some peace after all that she has been through. The next day when Cynthia takes her son and Kim to a Chinese restaurant run by her foster parents, a Triad gang moves in and kills everyone except for the two children.

Ben arrives just in time to get into a shoot out with a few of the gangsters and to find his son missing and his wife dead ? her throat slit. He swears revenge and goes back to his former mafia employees for some help. Together they uncover a plot between Cynthia’s boss at the INS and a Chinese gangster named Sun Quan (Simon Yam) to use the refugees to smuggle heroin into the United States. When Archer finds out that Kim is actually Sun Quan’s daughter he discovers that he’s in a whole lot more hot water than he first expected and that the only way he’s going to make it out of this alive and get his son back in one piece is to fight his way to Sun Quan and take him down before the Triad’s kill him first.

The cinematography is slick, almost a little too slick in a couple of the earlier scenes, but towards the finale it takes on a rougher, more haggard look that seems to fit the tone of the storyline a little better. The colors are intentionally bleak and drab looking and the movie has a very dark look to it ? just as the story does.

When Van Damme teamed up with Hong Kong uber-director Ringo Lam for In Hell the result was a hard and gritty picture that showed us a more savage and primal side of him that we hadn’t seen before. In this latest film, directed by French auteur Phillipe Martinez, Van Damme exists solely to get revenge against those who killed his wife and kidnapped his son. He doesn’t care who gets in the way and actually doesn’t do a half bad job of showing both extreme anger and some heartfelt sadness. The script touches on almost every action movie clich? in the book ? everyone around him is taken down and it’s up to him to finish the job and save the day; some people he knows and trusts are in on it all; he has to turn to someone from his past for help despite the fact that he’s trying to distance himself from it - and there are a fair share of corny moments (the bedroom scene is almost laughable). However, there’s enough action and bloodshed in the last half of the film to more than make up for the cheesy moments that are in the first half. When Archer finally has enough and takes the war to the Triad’s, he punches, kicks and primarily shoots his way through them like a bat out of Hell. This is no fancy kickboxing movie like Van Damme has made in the past though. While sure, a couple of bad guys get a boot to the head here and there most of the Van Dammage is done with a forty five or a shotgun, with a couple of head butts thrown into the mix just to spice things up a little bit.

The DVD

Video:

Wake Of Death comes straight to video in a nice 1.78.1 widescreen transfer that is free of print damage and mpeg compression problems but which does exhibit some edge enhancement in a few scenes that give the movie a slightly shimmering look that does prove a little distracting. That doesn’t happen too often, but there are a couple of spots where even viewed on a smaller television set, your eyes will pick up on it. Other than that though, the movie looks quite nice. Seeing as so much of it takes place in darker locations, it’s nice to see that the black levels stay strong and deep and color separation is nice and distinct. Overall, this is a pretty solid transfer.

Sound:

There are three audio tracks present on this DVD ? Dolby Digital 5.1 Surround Sound mixes in both English and French, and a Dolby Digital 2.0 Stereo mix in Spanish. The English 5.1mix is the way to go as it provides plenty of directional effects during the action scenes and mixes in the background music and sound effects nicely against the dialogue which remains easy to understand and very clear throughout. There are no problems with hiss or distortion and this is a very satisfactory mix. Subtitles are available in French only, though there is an English closed captioning option.

Extras:

The film’s original trailer is provided, as are previews for a few other unrelated Columbia/Tri-Star action films. Also included is a featurettte that runs just over ten minutes in length that mixes up interviews with director Phillipe Martinez with some interesting behind the scenes footage and a wealth of clips from the movie. Martinez discusses how he envisioned Van Damme in the lead from day one and how it was to work with him as well as Hong Kong cinema legend Simon Yam. There’s nothing groundbreaking in here, but it is reasonably interesting and worth checking out once ? just be sure to watch it after the feature to avoid spoilers.

Final Thoughts:

Wake Of Death is a rather ‘by the numbers’ story and the dialogue is riddled with clich?s but the action scenes and slick camera work more than make up for those shortcomings. Columbia/Tri-Star’s DVD looks and sounds pretty good and this release comes recommended.

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full length downloadable Passion of the Christ, The movies

Monday, September 1st, 2008

Download Passion of the Christ, The

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Passion of the Christ, The
You may have an experience like this in a movie theater, once in a
lifetime. I haven’t been able to take those images out of my mind. What
an incredible achievement. It works in so many different levels that it
would be impossible to list them. It touched me in a way no film has
done before. It provoked such degree of hatred around my neck of the
woods, that it goes to prove how the devil reacts to holy water. Most
people I spoke to in Los Angeles had made up their minds about the film
before actually seeing it. What’s that all about? At the end of the day
Mel Gibson had the last laugh or the right to have it, although I don’t
believe that he is laughing. He seems to be unafraid, fueled by his
faith and convictions, a man of his word. That in itself must confuse
the hell out of Hollywood. All religious considerations to one side
this is an artistic masterpiece. You may agree or disagree, but why not
to make up your own mind?

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download divx Village, The movies

Sunday, August 31st, 2008

Download Village, The

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Village, The

No lie “The Village” could have been a good horror flick about evil woodland creatures. it is one of thos movies that bulds and bulds and then drops you to nothing. how ever “The Village” is good to watch while it is bulding then the ending cames and the good shit turns sour. as for my self i’ve never been much of a M. Night Shyamalan fan “The Sixth Sense” sucked “Signs,” was ok the first time i watched it the 2nd time it started geting boreing as for this movie “The Village” is a little better then “Signs,” not by much cause the ending totaly fucked it up. out of all of Shyamalan’s movies i guess this would have to be his best.as for “Unbreakable” i never got around to watching that truth is i don’t really cear to cause it don’t sound to good and besides i sleep enough as it is i don’t need a boreing flick to damn me to any more sleep.

as for the story to this movie its about these ppl they live like its in the 1800s way back in the woods in there little village. most of the ppl are scared to go out at night or in the woods cause there are these so called evil woodland creatures that like to prey on them. sound good? well it is while it last. then comes the ending im not going to say how that is as you know im not a spoiler giver. over all i give this movie a 6 cause its good while it last. if your new to horror movies don’t put this on the top of your horror movie list i mean its ok just not great its worth a watch. if your looking for a good horror movie about monsters in the woods check out ” watchers” parts 1. 2. and 3.

The Acting was good.

The Special FX was ok while they lasted. this is not a gorehound movie.

The story was ok someone needs to rewrite the ending and remake this movie.

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